Exhibit 5.19

Saw No Country for Old Men last night and thoroughly enjoyed it. It's nice to see the Coen brothers return to the harder edge of Blood Simple or even Miller's Crossing. Oh, or The Man Who Wasn't There, a great movie that I always forget about as, like its protagonist, it's a very wispy feature.

After their last few movies relied at least partially on devices (DahKOtin accents, Southern accents, Clooney, etc.), No Country is a film completely without gimmick and even the color palette is a muted Texas dust and blue skies as opposed to something more flashy like O Brother's gold tones or Miller's Crossing's autumnal roads. Fast, straight-forward, and surprising, it's one of those movies I always hope to see when I go to the theater. Usually I'm seeing Enchanted. I mean, that's fine too.

Best film of the year? Probably, though I had a singular appreciation for Zodiac which, incidentally, hits a lot of the same notes of societal entropy expressed by one, unstoppable man. The big difference is that Zodiac's San Francisco becomes a mad house of fear and paranoia while in No Country the evil, if that's what it is, walks empty streets. It's an interesting contrast especially since Fincher's movie is so meticulous while the Coens' is murky and grim. I prefer the No Country for a lot of reasons--it's better, for one; every interior shot looked like someplace I'd been as a kid in Nebraska, for another--but I just think it's interesting that so many movies this year seem to be about shocking events serving as markers of moral decay in the face of modernity. I haven't seen all of these, but in addition to No Country and Zodiac there is The Assassination of Jesse James..., Gone Baby Gone, Into the Wild, Sweeney Todd, and Dan in Real Life. Well, maybe not that last one.

And, seriously, Josh Brolin. Who knew?